Filip Srovnal

Stavební historie kostela Nejsvětějšího Salvátora v Klementinu na Starém Městě pražském není dosud v mnoha aspektech objasněna. V předkládaném příspěvku vystupují do popředí otázky týkající se vnitřního uspořádání kostela. Ve světle historických plánů a dochovaných inventářů autor zkoumá především stavební proměny presbytáře a s ním sousedících bočních kaplí. Zabývá se otázkami, nakolik ovlivnily podobu renesanční novostavby předcházející stavební struktury středověkého dominikánského kostela, proč nejsou mezi presbytářem a kaplemi v nejstarších plánech kostela zakresleny stávající pilíře či jak proměnila interiér kostela přestavba Carlem Luragem ve 40. letech 17. století. Zvláště inventáře pomáhají objasnit, co s sebou přinesla transformace jezuitského chrámu na kostel seminární. Skromné zmínky v pramenech a návrhy interiérové výmalby z 19. století konečně přinášejí dílčí odpovědi, jak se v průběhu času proměňovala celková barevnost interiéru kostela.
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The paper deals with inventories of movable property from the Church of the Holy Salvator in Prague’s Clementinum, and in detail with four inventories dating from the first quarter of the 17th and the last quarter of the 18th century. The first, theoretical part concerns the general characteristics of this archival source, its possible forms and significance for the history of art. Description and analysis of four preserved inventories of the church from the years 1606, 1625, 1781 and 1798 follow up. The second part of the article brings a revised edition of selected parts of them to demonstrate the change of their formal form and factual content – furniture – over time. Thus an illustrative case is proposed of certain inventories of ecclesiastical provenance in the early modern period.

The article presents five little known pictures, painted copies of Albrecht Durer’s engravings. Based on the analysis and specific way of adopting Durer’s works, the author suggests their attribution to the painter Hans Georg Hering (1580-1644). Furthermore, he focuses on Kašpar Arsenius from Radbůza (ⴕ 1629), Dean of the Prague Chapter and a donor of at least one painting, and also on the theme of the Catholic appropriation of Durer’s work in Bohemia divided into two cofessions.

The article presents five little known pictures, painted copies of Albrecht Durer’s engravings. Based on the analysis and specific way of adopting Durer’s works, the author suggests their attribution to the painter Hans Georg Hering (1580-1644). Furthermore, he focuses on Kašpar Arsenius from Radbůza (ⴕ 1629), Dean of the Prague Chapter and a donor of at least one painting, and also on the theme of the Catholic appropriation of Durer’s work in Bohemia divided into two cofessions.

The Nuremberg Chapel of St Moritz was destroyed at the end of the Second World War together with its remarkable set of medieval wall paintings. Among these, what is known as the Wenceslas fresco (Wenzelsfresko) has resonated the most in the scholarly literature. This cycle of paintings, of which only the first four scenes survived into the pre-war period, was believed to show episodes from the childhood of the son of the emperor Charles IV and later king, Wenceslas IV, who was born in Nuremberg and christened there. The painting thus became one of the proofs of the theory of art as a tool of dynastic power. Comparison of this wall painting with the iconographic and hagiographical sources has shown, however, that it was not about the life of Prince Wenceslas but depicted the legend of St Eligius. No direct literary source for the painting has been identified, but whoever conceived the painting cycle very probably drew on the hagiographical texts that were used around the year 1400 in the Nuremberg Dominican monastery by the author of the treatise Der Heiligen Leben for his own version of the legend of Eligius. The new iconographic identification corresponds to the arrangement of the sacral space of the Chapel of St Moritz. The Eligius cycle was painted on the wall directly above the side altar dedicated to St Eligius as well as St Catherine, St Wenceslas and St Sebald. This was a cemetery chapel, and the commissioner of the painting was probably someone from the patrician elite. Possibilities include the patrons of the chapel, the Mendel family, or Ruff Seyboth von Wendelstein, who in 1360 established an endowment for the celebration of mass at the altar of St Eligius. The painting has great significance for the iconography of Eligius. The first scene of the cycle is the oldest known example of a depiction of the vision of Eligius’s pregnant mother. At the same time it is important evidence of the hitherto rather overlooked cult of St Eligius in Nuremberg (in 1379 the dedication of the main altar of the Church of St Sebald was extended to include St Eligius).

Unlike studies that base their interpretation of a work on the representational and power strategies of a sovereign or ruler, this article focuses on a structure's liturgical function. It nevertheless begins by outlining the structural history of the Frauenkirche and its builder. An analysis of written sources, the building, and the iconography of its decorations reveals that research has to date overestimated the emperor's role. This is in no way inconsistent with the fact that the structure's architectural layout and the function of its individual elements point to a long tradition of imperial representation. This is especially true of the entrance hall, which, when considered in connection with the emperor's coronation tour in 1355, can be regarded as a unique medieval citation of a Classical triumphal arch. These symbolic elements are consistent with the kind of representational strategies that were employed by imperial cities, which were naturally focused on the person of the emperor. The chapel can be interpreted as a project that reflects both Charles IV's interest in Nuremberg and the political and cultural identity of the city's patriciate. This study also examines the chapel's decorations from the perspective of their function in the sacred space and concludes that the church represents a textbook example of decorations being determined by liturgical rules. However, it also has an original and multi-layered, theologically conceived iconographic programme. Its central theme is the arrival of Christ and it operates on two levels: first, the figures of the first human couple, the Israeli kings, and patriarchs and prophets on the outer portal and the allusion to Christ's origin, with the figures of Joachim and Anna and Mary and Joseph, combined with the representation of the story of his birth on the inner portal serve to situate the Advent of Christ within the history of salvation. Second, the relief depicting the Sacrifice in the Temple makes it possible to form a direct link between the image and a ritual act. At the centre of this liturgy is Christ's arrival in the temple. The symbolic advent of Christ, the Eternal Sovereign, could thus in the eyes of townspeople act as a reference to the ceremonial arrivals of Holy Roman King and, from 1355, Emperor Charles IV. And the same associa- tion could also then certainly work in reverse.

The most visible change in the Roman Catholic liturgy of the 2nd Vatican Council (1962-1965) became the transition from worship towards the east (“ad orientem”) to a celebration towards the people (“versus populum”). Even though this change was not dictated by any official document of the Catholic Church (only recommended), it caused major changes in church interiors. Emphasis is therefore placed on an analysis of church documents relating to the location and orientation of the altars. A selection of Prague churches is subsequently interpreted against this backdrop. The article concludes that there does not exist a single method by which to address current liturgical requirements in the interiors of historic buildings. The use of the new altar, its furnishings, and its removal depended on the decision of the church administrator, hence the liturgical commission of the respective diocese. The celebration versus populum or ad orient, however, is not a matter of principle, but liturgical appropriateness and sensitivity to the spatial disposition of the church.

During an inventory of the mobiliary of the Church of St. Ignatius in Prague's New Town as part of the Integrated System of Protection of Movable Cultural Heritage (ISO), items were found that belonged, inter alia, among Holy Mass equipment for military chaplains of the Austro-Hungarian army during the First World War. There are three field chapels/Mass suitcases (two of which are properly equipped with kits) and four chaplain's bags with equipment for the administration of the sacraments (baptism, holy confession, communion, and anointing of the sick) directly on the battlefield. In addition to these sets, the church also contains fragments of at least two other chapels and four bags. The individual items are described and their liturgical use, often little-known, is explained through contemporary inventories or military regulations. The existence of such a large collection of military worship items can be explained by the fact that in the former Jesuit college, very close to the Church of St. Ignatius, a military hospital was in operation from the abolition of the order until 1938.

The first part of the paper deals with the unusual iconography of Presentation of Jesus at the Temple in the main­portal tympanum of the Nuremberg Frauenkirche. The presence of an angel is illuminated by the Biblical text from Malachi (3: 1­4) repeatedly sung during the celebratory rites on the day of the Purification of the Virgin. The same explanation applies to the presence of an angel in the same scene on the carved pews in Cologne and on the Marian reliquary in Tournai Cathedral by Nicholas of Verdun. An analysis of contemporary liturgical sources made it possible to decipher the main “message” of the whole tympanum: the themes of the Coming of Christ, the Temple, and the Sacrifice correspond precisely to the liturgy of the feast of the Purification of the Virgin. The third station of the candle­lit liturgical procession most probably took place in front of the closed portal depicting the scene of the Presentation of Jesus in the Temple. This station culminates with the symbolic Coming of Christ into the Temple which this paper designates as the central idea of the analysed relief. The gate opens and the priest carrying the reliquary ceremoniously enters the durch and begins to celebrate the mass. The priest is accompanied by the believers with lit candles who – just like the wise virgins with oil lamps ­ wait for the bridegroom to usher them to the wedding feast (Adorna thalamum is sung at this occasion). They thus express their desce to belong among those whom Christ will find ready at his second coming. The Nuremberg main altar represents an important part of what we call “espace ecclésial.” The tympanum is not a mere explanation or reflection of the festive liturgy. Like the antiphon sung during the mass, this image does not reproduce a specific ritual act. It re­enacts the Biblical event and thus connects the celestial with the earthly.

Die Existenz des Wenzel-Kultes bei der vom Kaiser Karl IV. zu 1355 gegründeten Marienkapelle kann sowohl durch schriftliche Quellen, als auch durch Bildwerke belegt werden (Allen voran ist die monumentale Statue des heiligen Fürsten im Presbyterium der Kirche zu nennen). Dennoch begegnen wir in der entsprechenden Sachliteratur vielen Unklarheiten oder sogar Kontradiktionen. Zunächst wenden wir uns der Frage des Patroziniums des Wenzel-Altars zu. Der Konsekrationsurkunde zufolge wurde dieser Altar am 25. Juli 1358 zu Ehren des St. Wenzel geweiht, darüber hinaus der Heiligen Georg, Veit, Vinzenz, der Zehntausend Märtyrer, Maria Magdalena, Barbara, Margarete, Katharina, Helene und der Elftausend Jungfrauen. Durch die Nennung des St. Wenzel an erste Stelle ist die übliche Benennung des Sakralbaues geklärt. Schon seit Ende des 14. Jahrhunderts trat aber der Name des böhmischen Heiligen allmählich zurück; gleichzeitig kommt ein bislang nicht erwähnter Altar zu Ehren der St. Barbara vor. Viele Forscher zogen daraus den Schluss, dass es um zwei verschiedene Altäre geht. Diese Vermutung hielt eingehendem Studium der schriftlichen Überlieferung nicht stand (Besitz des Patronatsrechts zum Altar), wir konnten im Gegenteil zeigen, dass es sich lediglich um einen Altar handelt.
Gerade von diesem Altar berichtet die Urkunde vom 21. April 1361, wo wir der einmaligen Formulierung begegnen: danach sei die Kapelle gegründet und ausgestattet zum Lob der erlauchten Maria und zu Ehren des heiligen Märtyrers Wenzel (ad laudem gloriose virginis marie et ad honorem sancti martiris Wenceslai fundata et dotata.). Aufgrund dieser Quelle kommt manchmal im Namen der Kapelle das Wenzel-Patrozinium neben dem marianischen vor. Diese Erwähnung kann aber unmöglich als Beleg eines verbündeten Wenzels- und Maria-Patroziniums gedeutet werden, denn eine solche Wendung kommt weder in der Gründungsurkunde, von in den sonstigen Kaiser, Bischofs- oder anderen Urkunden vor. Aus dem Zusammenhang der Urkunde (hier wird die Begründung des Vikariats bei dem Wenzel-Altar bestätigt) ergibt sich, dass der Name des St. Wenzel an dieser Stelle als der Name des Patrons eines der Kapellenaltäre vorkommt.
Die Blüte des Wenzel-Kultes hängt mit der Person Karl IV. eng zusammen, vor allem mit der Geburt seines Sohnes, des künftigen Königs Wenzel IV., am 11. April 1361 in Nürnberg. Es dauerte aber nicht lange an. Schon in den letzten Jahren der Regierung des Kaisers begann das Ansehen des böhmischen Heiligen in Nürnberg zu sinken. Einen beredeten Ausdruck dieses Wandels stellt auch die Umbenennung des Wenzel-Altars auf Barbara-Altar dar.

"Filip Srovnal: „For the Glory of Our Kaisership, in Honour and Homage of Virgin Mary, Mother of God“ On the Meaning, Function and Architecture of Frauenkirche in Nurenberg
The observations reported in this paper deal with the original significance of the church of Our Lady in Nurenberg. It was founded by Charles IV (1316–1389) in 1355 when he returned from his crown-journey to Rome. The construction began already at latest in 1352 on the place of ancien synagoge (destroyed
during the jewish pogrom in 1349) and finished in the early 1360’s. We attemp to approach the original appearance of this „imperial chapel“ especially through two capital themes. At first we discuss the cultus-matter, that means liturgy, devotion, iconography and research of the liturgic functions of the architecture.
In the second theme, that is the problem of authorship of the architecture. We don ́t agree with the hypothesis, that the church was build by young Peter Parler, nevertheles there are many stylistic affinities to the parlerian architecture.
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Kniha představuje vůbec první uměnovědnou monografii stavby. Její první část má podobu průvodce uměnímilovného návštěvníka, druhá část zasazuje stavbu, její výzdobu a mobiliář do kontextu středověké liturgické praxe. / The book presents the first ever art history monography of a the chapel. Its first part takes the form of a guide for the art-loving visitor, the second part places the building, its decoration and furniture in the context of medieval liturgical practice.

The thesis discusses the most importants works of sculpture in Vienna in the 3rd quarter of the 14th century, sculpture of the "Herzogswerkstatt" in the St. Stephan's cathedral, whose commission and conception is related with the Austrian dukes Rudolf IV. (1358-1365) and Albrecht III. (1349-1395). It concerns the sculpture of the so called "Fürstenportale", two gisants on the Cenotaf of Rudolf IV. and three sovereign couples in the exterior of the church. A crucial section of the thesis is the analysis of Duke's portals. Beside questions concerning original localisation, iconography and function of the portals, the aim is to point out the genesis of the style. The last two chapters deal with Rudolf's cenotaf and sovereign couples. In contrary to recents theses of the scolars Schmidt and Schwarz I find the stylistic origins of Vienna's sculpture in the Middle-European art - the most important influence constitutes parlerian sculpture of South Germa...

English summary: The Church of Our Lady in Nürnberg and her sculpture The church of Our Lady in Nürnberg was founded by Charles IV (1316-1389) in 1355 when he returned from his crown-journey to Rome. So it was his first "emperor-foundation". The church was built probably between 1352 and 1361 as well as the sculptural decoration. We can follow up an extensive iconographic programme especially on the west facade which was supposedly ordained by Charles IV himself. This type of state-representation-scheme anticipate the further famous iconology of St. Vitus Cathedral. Some scientsts suppose that the author of this monument is Peter Parler, master builder of St. Vitus Cathedral because of high parlerian character of the architecture and sculptures and by virtue of the chronology (Peter Parler came to Prague in 1356). However we can't agree this hypothesis, because the style reasons are too general for this proposition, they don't smite a personal style of Peter Parler...

The thesis presents a global art-historical analysis of the Church of Our Lady in Nuremberg (the so-called Frauenkirche) as an important monument of Central European sculpture of the time of Roman Emperor and Czech King Charles IV (1316-1378) and as a witness of the solid connection of art and liturgy. The thesis consists of five chapters, which deal with methodology, historical context, architecture, sculpture and liturgical praxis of the church. The most important aims are: to clarify the participation of Nuremberg patriciate and Charles IV in the church's erection and architectural form, to conduct a complex iconographic and formal-comparative analysis of the sculpture, especially of the atrium, and last but not least to discuss the still unreflected phenomenon of the collegium mansionariorum (mansionars), the priests appointed here, whose specific liturgical practice makes it possible to clarify many iconographic aspects of the paintings and especially of the sculpture